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【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕

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【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕 杨牧石 麦勒画廊 北京 展讯 Mushi Reconstruction 现实 几何 形体 社区 崇真艺客




杨牧石:逆向复原

Yang Mushi: Reverse Reconstruction


2022.3.12 - 5.15


开幕 Opening:
2022.3.12(周六),4pm


麦勒画廊 北京
Galerie Urs Meile Beijing




(Please scroll down for English)


“我把观察到的现实,转换为变异的几何形体,并试图将其连接。在反复的推敲与打磨中,社区、景区、公共艺术、商场、写字楼与突变的事件穿插,叠置出锋利的图像。这些无名的、为人遗忘的、正在消逝的‘城市片段’被再次切割,肆意错位。当僵硬的线条穿透破碎的空间,我的宇宙逐渐形成。”

——杨牧石

麦勒画廊北京部荣幸地宣布我们即将举办杨牧石(生于1989年)的最新个展“逆向复原”,这也是他在麦勒画廊举办的第四次个展。此次展览集合了杨牧石2019年至2022年的创作。在疫情爆发的两年多时间里,艺术家在“无效生产”理念的基础上进一步拓展对材料的观察和研究,在不断地试验中形成新的工作方法、物质形式和哲思判断

在本次展览中,杨牧石将走出雕塑实践的传统框架,解构整个展厅空间。其中,金属几何装置《焊连-遗迹》(2021,不锈钢回收件,120 x 680 x 600 cm,装置尺寸可变)在紧张的转折面、畸变的透视、矛盾的比例关系、严密的连接点和残缺的切面中锐化为六个向内收缩的垂直结构。这一结果来自艺术家对泡沫、围墙护栏、防盗窗、雕塑骨架、广告牌、公司铭牌、不锈钢门等现成品的分类。随之,通过腐蚀、切割、焊接、糙化等方式,反向处理这些二手工具,扭曲其形态与比例,从而完成对空间的切割、封闭和拦截。同样的工作方法贯穿《焊连》系列作品(2021-2022)和霓虹装置《扭曲 II》(2020-2022,白色霓虹灯管,变压器,400 x 560 x 600 cm,装置尺寸可变),艺术家通过截取和提炼当代景观的图像和造型,一方面强化了塑造当代心理的物质形式,与此同时,这些去功能化的日常废弃材料也被残酷地孤立为兼具多重矛盾的当代遗迹。作品生产所需要的高强度劳动,在白盒子里“复原”材料成为实践的重点,也成为反思社区、城市与事件间紧张关系的起点。


【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕 杨牧石 麦勒画廊 北京 展讯 Mushi Reconstruction 现实 几何 形体 社区 崇真艺客

杨牧石,《焊连-条》,2021-2022,不锈钢回收件,97 × 33 × 6 cm
Yang Mushi, Welding - Stripe, 2021-2022, recycled stainless steel, 97 × 33 × 6 cm


【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕 杨牧石 麦勒画廊 北京 展讯 Mushi Reconstruction 现实 几何 形体 社区 崇真艺客

杨牧石,《焊连-块》,2021-2022,不锈钢回收件,72 × 36 × 4.5 cm
Yang Mushi, Welding - Block, 2021-2022, recycled stainless steel, 72 × 36 × 4.5 cm



霓虹装置《扭曲 II》中,艺术家选取常规的白色灯管,通过不同程度的折角处理做出近似、却有差异的几何形光线。白光象征着工作中的光线,转折则指向了现实中的变化。图像的形式参考了文字、乱码、心电图和k线图。当大量的生产结果被紧密安置在一起时, 紧张与窒息、休止与错误、暂停与倒退、意外与死亡被扭曲为一体。艺术家试图透过重复性动作把经典的生产模式、疾速发展的城市节奏、急促的呼吸频率、生产者的手工作业以及尖锐的信号融合在醒目的白光中。

《侵蚀 II》(2021,泡沫,腐蚀性液体,丙烯,127 x 880 x 460 cm,装置尺寸可变)延续了艺术家之前对于乙烯泡沫的实践探索。19件线性结构的黑色装置阵列于空间,大小不一的洞孔遍布物体。单调的转折面、消失的透视、矛盾的比例关系、残缺的体积、以及雕塑群的位置交错构成了一个阻碍人前行的空间。材料的造型、比例以及间隙尺寸参考了建筑屋顶、纪念碑、墓碑与广告牌, 它们呈现出挤压的扭曲状态。艺术家试图叠置极端的工作手段、放射状的体积与截取的城市景观。在高强度的劳动与破坏性的语言中,我们所生存的环境被重新审视。这些僵死的、畸形的残躯败体的背后,闪烁着对可持续发展理念的反思与实践。



“I transform the reality I perceive into mutating geometric forms and attempt to link them together.

Through constant polishing and grinding, communities, scenic areas, public art, shopping malls, office buildings, and sudden events stack together into sharp images. These nameless, forgotten, disappearing ‘urban fragments’ are once again cut and randomly dislocated. As rigid lines penetrate fragmented space, my universe slowly takes shape.”

—Yang Mushi


Galerie Urs Meile Beijing is honored to announce Reverse Reconstruction, the latest solo exhibition of Yang Mushi (b. 1989). This is the artist’s fourth solo exhibition at Galerie Urs Meile. It brings together Yang Mushi’s creations spanning from 2019 to 2022. As the pandemic unfolded over the past two years, the artist has expanded the scope of his exploration of material on the foundation of the concept of his previous show titled “Illegitimate Production” with his experiments yielding new working methods, forms, and philosophical deductions.

A cluster of metal geometric installations titled Welding–Relics (2021, recycled stainless steel, 120 × 680 × 600 cm, installation size variable) comprises six receding line structures arising from tight turns, distorted perspectives, contradictory proportions, precision joints, and gaping facets. It is the result of the artist’s sorting of various readymade objects, such as foam, fencing window bars, sculptural armatures, billboards, company nameplates, and stainless steel doors. These secondhand tools are then manipulated through such methods as corrosion, cutting, welding, and scoring. Finally, he uses dislocations in form and proportion to divide, isolate and block off the space. The same working logic is present in the Welding series (2021-2022) and the neon installation Distorting II (2020-2022, white neon tubes, transformers, 400 × 560 × 600 cm, installation size variable). By intercepting and refining the images and shapes of contemporary landscapes, the artist strengthens the material forms that shape contemporary psychology, while at the same time, these defunctionalized everyday waste materials are brutally isolated as contemporary relics with multiple contradictions. The intense labor demanded by the work production process “restores” materials as the focus of practice in white cube exhibition space, and as the starting point for reflection on the tense relationship between community, city, and social interactions.



【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕 杨牧石 麦勒画廊 北京 展讯 Mushi Reconstruction 现实 几何 形体 社区 崇真艺客

杨牧石,《焊连-段》,2021-2022,不锈钢回收件,102 × 52 × 12 cm

Yang Mushi, Welding - Section, 2021-2022, recycled stainless steel, 102 × 52 × 12 cm



In the work Distorting II, the artist has selected the conventional white neon tube, which he twists and turns to varying degrees to create similar lines of geometric light with slight variations. The white light symbolizes lighting in the work setting, while the twists and turns reference the shifts in reality. The image forms reference text, jumbled code, electrocardiographs, and candlestick charts. When large quantities of products are placed tightly together, tension and suffocation, cessation and error, pausing and retreat, surprise and death are all twisted into a single whole. Through repetitive action, the artist is attempting to fuse means of production, the rapid pace of the city, rushed breathing, the manual labor of the producer, and shrill signals into a dazzling white light.

The artist continues his exploration of polystyrene foam in the work Eroding II (2021, foam, corrosive liquid, acrylic, 127 × 880 × 460 cm, installation size variable). Nineteen black objecs are laid out in the space, covered in holes of various sizes. Monotone curved surfaces, disappearing perspectives, contradictory proportions, missing masses, and interlocking positions within the group of sculptures form a space that hinders movement. The shapes, proportions, and gaps were created referencing building roofs, monuments, tombstones, and billboards. They emerge in a compressed, distorted state. The artist attempts to stack together extreme working methods, radiating masses, and cross-sections of the urban spectacle. Within intense labor and a language of destruction, our existential environment comes under reexamination. These stagnant, abnormal, failed bodies emphasize the artist’s reflection and practice of the idea of sustainable development.




杨牧石1989年出生于江西,现生活和工作于北京和上海。2014年毕业于中央美术学院雕塑系。最近的个展包括2021年于北京HARMAY空间举办的“倒装结构”,2019年于麦勒画廊北京举办的“原地消失”、2018年于麦勒画廊卢森举办的“强 制执行”、2018年于香港中文大学(深圳)举办的“残躯败体”和2016年于麦勒画廊北京举办的“无效生产”。群展包括:“共生的景观——第二届南海公共艺术展”,千灯湖活水公园,中国佛山(2022);“时·空”,油罐艺术中心,中国上海(2021);“我认出了世界:生于八九十年代”,银川当代美术馆,中国银川(2021);”重塑蔚蓝“,UCCA Lab,中国北京(2021);“时代的镜子”,尤伦斯当代艺术中心,中国北京 (2018 );“中国与葡语国家艺术年展——三千界” ,牛房仓库,中国澳门(2018);“守望原乡”2018广安田野双年展,中国广安(2018);“The Dark Matters”,白兔美术馆,澳大利亚悉尼(2017);“视态之问——青年艺术家的视野与在地经验”,广东美术馆,中国广州(2017);“今天重做”,上海民生现代美术馆,中国上海(2016);“转向:2000后中国当代艺术趋势”,上海民生现代美术 馆(2016);“我们——一个关于中国当代艺术家的力量”,上海chi K11美术馆(2016);“保诚眼——亚洲当代艺术”,新加坡金莎科学艺术博物馆,新加坡 (2016);第五届厄勒布鲁市OpenART 双年展“无忌——来自中国的年轻一代” ,厄勒布鲁市美术馆,瑞典厄勒布鲁市(2015)以及“时空书写:抽象艺术在中国”,上海当代艺术博物馆,中国上海(2015)。杨牧石曾获“第九届明天雕塑奖”年度奖 ( 2021 ), 被“保时捷中国青年艺术家双年评选” ( 2021 ) 、“保诚眼——亚洲当代艺术奖 ” (2016) 提名 。

作品被包括澳大利亚悉尼白兔美术馆、瑞士巴塞尔Erlenmeyer Foundation、德国柏林沙尔夫-盖尔斯腾贝格美术馆、美国大陆国家银行、中国Longlati基金会在内的公共机构收藏。


Yang Mushi (b. in 1989 in Jiangxi Province, China) currently lives and works in Beijing and Shanghai. In 2014 he graduated from the Sculpture Department at the Central Academy of Fine Arts in Beijing. He held his solo show Inverted Structure at HARMAY Beijing in 2021, Vanishing into Thin Air at Galerie Urs Meile Beijing in 2019, Compulsory Execution at Galerie Urs Meile Lucerne in 2018, Broken Torso at The Chinese University of Hong Kong (Shenzhen) in 2018 and Illegitimate Production at Galerie Urs Meile Beijing in 2016. His most recent group exhibitions include: Symbiotic Spectacle – The Second Public Art Exhibition in Nan Hai, Qiandenghu Park, Foshan, China (2022); China Moments, Tank Shanghai, Shanghai, China (2021); I Recognized the World: Born in the 80s and 90s, MoCA Yinchuan, Yinchuan, China (2021); Rebuild the Blue, UCCA Lab, Beijing, China (2021);Modern Time, Ullens Center for Contemporary Art, Beijing, China (2018); Annual Arts Exhibition Between China and Portuguese – Speaking Countries – The Universe, Ox Warehouse, Macau, China (2018); HEIMAT – The 2018 Guang’an Field Art Biennale, Guang’an, China (2018) ; The Dark Matters, White Rabbit Gallery, Sydney, Australia (2017); Visual Questions – Young Artists’ Visions and Experiences, Guangdong Museum of Art, Guangzhou, China (2017); Everyday Legend, Minsheng Art Museum, Shanghai, China (2016); Turning Point: Contemporary Art in China Since 2000, Minsheng Art Museum, Shanghai, China (2016); Prudential Eye Awards for Asian Contemporary Art, Marina Bay Sands Art Science Museum, Singapore (2016); WE – A Community of Chinese Contemporary Artists, chi K11 Art Museum, Shanghai, China (2016); No Holds Barred – Young Generation from China, OpenART Biennial, Örebro County Museum, Örebro, Sweden (2015) and Calligraphic Time and Space: Abstract in China, Power Station of Art, Shanghai, China (2015). Yang Mushi won the Annual Prize of “The 9th Tomorrow Sculpture Award” (2021). He was nominated by “Porsche Young Chinese Artist of the Year” (2021) and “Prudential Eye Awards for Asian Contemporary Art” (2016).

His works have been collected by public institutions including: Erlenmeyer Foundation, Switzerland; Collection Scharf-Gerstenberg, Germany; American Continental Bank, USA; White Rabbit Gallery, Australia; Longlati Foundation, China.


 相关链接 



【艺术家动态】杨牧石近期展览
杨牧石获第九届五粮液『明天雕塑奖』年度奖
杨牧石参展保时捷“中国青年艺术家双年评选”提名艺术家群展
【现场】杨牧石参展“曲园计划——在遗痕中,在镜像里,造一个新江南”
【展览现场】杨牧石参加上海油罐艺术中心群展“时·空”
【展讯】|“杨牧石·倒装结构”将于9月18日在HARMAY开幕
【展览】杨牧石参加”速度//时间——香港中文大学(深圳)第二届文艺季”
【媒体报道】杨牧石|frieze展评
【展览预告】“杨牧石:原地消失”将于1月12日开幕
【瑞士卢森展览预告】“杨牧石:强制执行” 将于2月22日(本周四)开幕


【展讯】杨牧石:“逆向复原” | 3月12日麦勒画廊北京开幕 杨牧石 麦勒画廊 北京 展讯 Mushi Reconstruction 现实 几何 形体 社区 崇真艺客



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